1994_Natural Born Killers, regia di Oliver Stone, compilation assemblata da Trent Reznor.
Stone doesn’t have the slightly distant and loving gaze with which Tarantino observes his heroes; he identifies with Mickey and Mallory and blends hyperrealism and moralism into an explosive short circuit. The soundtrack can only be a compilation of rock anthems to violent sex, interspersed with the sweet ballads of Dylan and Patsy Cline, which, of course, are meant to represent the America of the “good old times”.
1997_Hana-bi, regia di Takeshi Kitano, musica di Joe Hisaishi.
A fitting tribute to a great film composer who has left his mark on Kitano’s films and the creations of Studio Ghibli, including Miyazaki’s works. Personally, I have a deep appreciation for the main theme of another Kitano film, Kikujiro’s Summer, also composed by Hisaishi. It seems to me that behind this melody lies not only a profound musical insight but also a world, something I would call a way of being for humanity. It encapsulates that sense of dwelling between ecstasy and nostalgia that, among all seasons, summer manages to recreate with the greatest intensity.
1998_Run Lola Run, regia di Tom Tykwer, musica di Tom Tykwer, Johnny Klimek, Reinhold Heil.
The streets of Berlin become the labyrinth for Lola’s frantic race towards saving the world, that is, her boyfriend. The soundtrack is a triumph of the techno music of the third season, closely tied to the acceleration of rhythmic pulsation and strong blends with rock. The criticism back then, which was along the lines of “we are faced with an 80-minute music video,” seems quite off target today.
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